{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/4q7qn5zm8q/manifest","type":"Manifest","label":{"en":["Olga Samaroff: Recording Pioneer"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Donna S. Kline (Presenter)","Dennis D. Rooney (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-11 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eTexas-born pianist Lucy Hickenlooper (1880-1948), who was born in San Antonio, was America’s most famous female concert artist of the early 20th century. Stifled by anti-American sentiments towards Americans as musicians and Old World prejudices towards women, Lucy Hickenlooper, a.k.a. Olga Samaroff, adopted a European sounding name and emerged from complete obscurity to become the most successful and famous American woman virtuoso of the early 1900s. In addition to her international virtuoso career, Samaroff was the first American pianist to perform all 32 Beethoven Sonatas in concert; the first woman music critic for a New York newspaper; the first American woman on the piano faculty at Juilliard (1924); and—perhaps most importantly—among the first musicians of her time to make recordings (1908.) The recording industry was in its infancy when Samaroff first recorded in Freiburg, Germany for the Welte Mignon Reproducing Piano Company. This lecture will focus on Samaroff’s early recordings. Her many written opinions about the fledging recording technology, and her actual recording experiences will cast a light on her forward thinking views. Her writings will also speak from the artist’s viewpoint about early recording practices. Many of her artist contemporaries feared or resisted this new technology, saying it would drive audiences away from the concert halls. Others viewed it as “canned or mechanical music.” Ms. Kline will show how Samaroff was a forward thinking and loyal advocate for recording’s future. She was a true musical progressive, and a leading musical innovator of her time.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Amanda McCabe (Video Editor)"]}}],"summary":{"en":["\u003cp\u003eTexas-born pianist Lucy Hickenlooper (1880-1948), who was born in San Antonio, was America\u0026rsquo;s most famous female concert artist of the early 20th century. Stifled by anti-American sentiments towards Americans as musicians and Old World prejudices towards women, Lucy Hickenlooper, a.k.a. Olga Samaroff, adopted a European sounding name and emerged from complete obscurity to become the most successful and famous American woman virtuoso of the early 1900s. In addition to her international virtuoso career, Samaroff was the first American pianist to perform all 32 Beethoven Sonatas in concert; the first woman music critic for a New York newspaper; the first American woman on the piano faculty at Juilliard (1924); and\u0026mdash;perhaps most importantly\u0026mdash;among the first musicians of her time to make recordings (1908.) The recording industry was in its infancy when Samaroff first recorded in Freiburg, Germany for the Welte Mignon Reproducing Piano Company. This lecture will focus on Samaroff\u0026rsquo;s early recordings. Her many written opinions about the fledging recording technology, and her actual recording experiences will cast a light on her forward thinking views. Her writings will also speak from the artist\u0026rsquo;s viewpoint about early recording practices. Many of her artist contemporaries feared or resisted this new technology, saying it would drive audiences away from the concert halls. Others viewed it as \u0026ldquo;canned or mechanical music.\u0026rdquo; Ms. Kline will show how Samaroff was a forward thinking and loyal advocate for recording\u0026rsquo;s future. She was a true musical progressive, and a leading musical innovator of her time.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/098/353/small/open-uri20201007-791-1x4y9fy_1602114074.jpg?1602099684","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/98353","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20201007-791-1x4y9fy.mp4"]},"duration":1725.39733,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/098/353/small/open-uri20201007-791-1x4y9fy_1602114074.jpg?1602099684","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/98353/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/98353/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/098/353/original/open-uri20201007-791-1x4y9fy.mp4?1602099671","type":"Video","format":"video/mp4","duration":1725.39733,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/98353","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/255914","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2017_Kline_audio.mp3"]},"duration":1430.55256,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/255914/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/255914/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/914/original/ARSC_conf_2017_Kline_audio.mp3?1730763491","type":"Audio","format":"audio/mpeg","duration":1430.55256,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/30370/file/255914","metadata":[]}]}],"annotations":[]}]}